“The Magic Faraway Tree” (2026) loosely adapts the second book (1943) in Enid Blyton’s four novel series. Tim (Andrew Garfield) and Polly (Claire Foy) Thompson move their kids to a barn in the country so they can become a closer family and rescue their children from technology and discover the joys of an enchanted wood with strange creatures, but they only have until the end of the summer to turn a profit and pay the farmers, Brian (Simon Farnaby, who wrote the movie) and Bella (Claire Keelan, Farnaby’s real-life wife), for the use of their property. When oldest child, Beth (Delilah Bennett-Cardy), tells her maternal grandmother, Freda (Jennifer Saunders), of the move, Freda is determined for the family to return to the city. Will the kids get with their parents’ program and have an old school childhood, or will they return to their big city ways? With a stacked ensemble cast, there are tons of reasons to see this family fantasy film, but because the tone is a bit theatrical in affect, and the fantasy elements are silly to appeal to children’s attraction to whimsy, it could be hard to stay absorbed and awake for the entire runtime.
If you recall and appreciated Garfield’s October 2024 appearance with Elmo on “Sesame Street” when they discussed grief, then you will probably adore Tim, the house husband with a dream to move to the countryside, except more upbeat. If you are coming to “The Magic Faraway Tree” because you are a Garfield fan, you will be pleased, but he is not the main character. The children are. It is never explained why the Thompson family has the same relationship with Italian culture as Hilaria Baldwin’s relationship with Spanish but go with it. Foy as Polly plays the breadwinner as an inventor of a smart fridge that Judi Dench voices. She has her misgivings about the plan but is supportive despite being concerned that her judgmental mom will disapprove.
In the beginning of “The Magic Faraway Tree,” youngest child, Fran (Billie Gadsdon), is the key to convincing the rest of the kids to get with the plan because she is not thoroughly absorbed with tech and still observes her family though she remains silent. Gadsdon is fine, but it is a relief when Bennett-Cardy takes the lead and takes her character on an emotional evolution from bratty, judgmental teen to a person who enjoys time with her siblings and rediscovers her sense of wonder. If Bennett-Cardy was born earlier, she could have gotten a role in “The Chronicles of Narnia” trilogy. Also, she helps a fairy, Silky (Nicola Coughlan), with her body images, but largely the movie uses Beth to make digs at feminists being dumb and mean because of being chronically online. In the early twentieth century, women used to stab men with their hatpins so everyone can just relax about how online culture is turning girls and women into misandrists. Beth is the cornerstone of the success or failure of the plan. In true middle child fashion, Joe (Phoenix Laroche) is largely forgettable except for starting a fart chain and being obsessed with playing video games, specifically the fictional “Mindblast,” which feels like a spin on “Minecraft” without having to get the right to use it.
The fantasy elements feel “Wonka” (2023) adjacent. Do not worry. There is only one song, but it does not sound as good as any of the numbers featured in “Wonka,” which was an outstanding musical. The creatures who live in the tree are well acted but not innately interesting to standalone without a plot. The Angry Pixie (Hiran Abeysekera) is hilarious, and it was a shame when he stopped appearing in the middle. Moonface (Nonso Anozie) is not a fan of human beings who do not keep their promises. Dame Washalot (Jessica Gunning) knows which lands are available to visit further up in the sky. Saucepan Man (Dustin Demri-Burns) wears a lot of saucepans like a knight, but the clanging makes hearing difficult. Mr. Watzisname (Oliver Chris) does not remember his name. There is an eleventh hour closing of the loop that retroactively makes them more interesting and perhaps should have been threaded throughout the story instead of limited to the bookends.
It is no surprise that Rebecca Ferguson steals the show as Dame Snap, formerly known as Dame Slap, who is the head of a prison like land and fancies herself a schoolteacher though she seems more interested in abuse than teaching anything. If you enjoyed Ferguson in “Doctor Sleep” (2019), you will love her in “The Magic Faraway Tree.” She is pale, seething, easily shocked and violent, but she also plays the character with a sense of humor and an over-the-top exaggeration that will make a memorable impression. If she ever wants to play the Queen of Hearts, just give the job to her without auditions. Also did she have one fang like a vampire or was I imagining things?
Playing a minor villain, Saunders is also a memorable addition to the cast, and it is sad that she did not get more screentime. She is the Cruella de Vil to her employee except it is a mother-daughter relationship. There is not just a battle for the kids’ soul with technology over family, but an attitude of earning a place in family over being a member and accepted as a right from birth. The judgmental vibe skipped a generation and landed on Beth. Even though it was not the point, it would have been great to find out how Freda became the person who commutes using a helicopter. It is implied that she has no principles and only cares about success. Polly’s father is never mentioned.
Because “The Magic Faraway Tree” is a movie, it is a romantic idea to leave the city, start a business and expect to be an immediate success working in agriculture while following one partner’s dream, but do not try this at home. It is not progressive or revolutionary to follow the dad’s lead. It is actually pretty normal verging on Biblical. There are so many stories of families doing dangerous things for a guy to live his dreams at the price of the entire family’s well-being. Unlike “Toy Story 5” (2026), technology is so demonized that rushing to the other side of the spectrum is framed as soul saving, and the family’s incompetence is played as harmless, amusing and light. It is all fun and games until winter comes.
“The Magic Faraway Tree” tries really hard but will not be a slam dunk in transporting moviegoers to this fictional world. The upbeat tone renders it monotonous at times despite the overwhelming talent on display. At least, it picks up momentum as it unfolds and ends on a strong note. While it has good values at the forefront, the subtext is one-sided propaganda that is pro-isolation, father knows best, Rousseau romanticism.
